![]() #ALICIA VIKANDER TOMB RAIDER OPENING SCENE MOVIE#The movie version doesn’t even believe she has any power. The video game Mathias he’s based on is insane because he’s been stranded on the island for 31 years, and has come to worship Himiko. When he tells Lara she’s pretty, it’s thoroughly creepy, and when he tells her he’s killed her father, he’s lying. Apparently, he’s only capable of real conversation with white scholars. Instead, he complains about how he has no one to talk to, while sitting in the middle of a busy camp. Why is that true? We’re told that human traffickers are regularly bringing new laborers to the island, presumably to replace the ones Mathias kills, but there’s no apparent reason he can’t quit and take one of those transports back home to his two daughters. He feels like a castaway from Lost, stuck on an island for seven years until a voice on the other side of his satellite phone tells him he can leave. #ALICIA VIKANDER TOMB RAIDER OPENING SCENE SKIN#The only jarring detail-other than her completely hairless pits after days in the jungle-is that she has as much skin left as she does after getting into so many scrapes.By contrast, Mathias in the new film is a pathetic tool. “She screams like a real person,” noted my screening partner. Even a scene in which she’s forced to kill a henchman in self-defense focuses on the physical exertion it takes to end a life. ![]() Tomb Raider’s soul lies in the American Ninja Warrior–style maneuvers that Lara uses to climb up from a hanging position, the strategies she can employ once the baddies’ bullets run out, and the bone-rattling thud when an aerial landing doesn’t go as planned. A mission to find Queen Himiko’s crypt, led by the ruthless Mathias Vogel (Walton Goggins), has been underway for years, and the papers that she used to find her father’s last known destination turn out to be a boon for the rival archaeologist. Lara lands on the island with a drunken sailor (Daniel Wu) in tow and discovers that it’s far from the uninhabited rock she’d been told it was. With such lucklessness, she can’t help but protest: “ Really?” In one breath-catching sequence that also happens to be the film’s funniest, Lara avoids falling down a giant waterfall, only to hold on to a quickly crumbling airplane wing, which lands her in a rusty hull that’s about to deposit her back into a watery grave. ![]() (Vikander’s previous career as a ballerina was probably helpful here.) These occasional efforts to incorporate video game elements are mostly inconspicuous. She gets pummeled in the boxing ring, walloped some more during a bike race through London, and chased by thieves in a Hong Kong harbor where rickety wooden boats serve as a live-action platform game. Even before Lara arrives on the remote Japanese island where her father set sail in search of the burial site of a legendarily deadly royal, the picture doesn’t give her a moment of peace. The daddy-daughter storyline is by far the clunkiest element in the script, by Geneva Robertson-Dworet and Alastair Siddons, so it’s a relief that Norwegian director Roar Uthaug (who last helmed the tsunami thriller The Wave) rarely stops the action for a heartfelt scene. The only jarring detail-other than her completely hairless pits after days in the jungle-is that she has as much skin left as she does after getting into so many scrapes. ![]()
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